04266nam 22007575 450 991078997380332120230207214235.00-8147-9942-60-8147-3916-410.18574/9780814739167(CKB)2670000000155481(EBL)865534(OCoLC)779828117(SSID)ssj0000607215(PQKBManifestationID)11370932(PQKBTitleCode)TC0000607215(PQKBWorkID)10582683(PQKB)11720866(MiAaPQ)EBC865534(OCoLC)794701080(MdBmJHUP)muse10759(DE-B1597)547270(DE-B1597)9780814739167(PPN)269063870(EXLCZ)99267000000015548120200723h20082008 fg 0engurnn#---|un|utxtccrGlobal TV Exporting Television and Culture in the World Market /Denise D. Bielby, C. Lee HarringtonNew York, NY :New York University Press,[2008]©20081 online resource (276 p.)Description based upon print version of record.0-8147-8634-0 0-8147-9941-8 Includes bibliographical references (p. 227-251) and index.Front matter --Contents --List of Figures and Tables --Acknowledgments --Preface --Introduction --1 The Syndication Market in U.S. Television --2 Television in the Global Market --3 The (Continued) Relevance of Genre --4 Managing Television’s Cultural Properties --5 Discourses of Distribution --Conclusion --Methodological Appendix --Notes --References --Index --About the AuthorsA reporter for the Los Angeles Times once noted that “I Love Lucy is said to be on the air somewhere in the world 24 hours a day.” That Lucy’s madcap antics can be watched anywhere at any time is thanks to television syndication, a booming global marketplace that imports and exports TV shows. Programs from different countries are packaged, bought, and sold all over the world, under the watch of an industry that is extraordinarily lucrative for major studios and production companies. In Global TV, Denise D. Bielb and C. Lee Harrington seek to understand the machinery of this marketplace, its origins and history, its inner workings, and its product management. In so doing, they are led to explore the cultural significance of this global trade, and to ask how it is so remarkably successful despite the inherent cultural differences between shows and local audiences. How do culture-specific genres like American soap operas and Latin telenovelas so easily cross borders and adapt to new cultural surroundings? Why is The Nanny, whose gum-chewing star is from Queens, New York, a smash in Italy? Importantly, Bielby and Harrington also ask which kinds of shows fail. What is lost in translation? Considering such factors as censorship and other such state-specific policies, what are the inevitable constraints of crossing over? Highly experienced in the field, Bielby and Harrington provide a unique and richly textured look at global television through a cultural lens, one that has an undeniable and complex effect on what shows succeed and which do not on an international scale.Television programsMarketingTelevision broadcastingSocial aspectsSeeks.global.history.inner.machinery.management.marketplace.origins.product.television.understand.workings.Television programsMarketing.Television broadcastingSocial aspects.302.23/45Bielby Denise D.authttp://id.loc.gov/vocabulary/relators/aut1566233Harrington C. Leeauthttp://id.loc.gov/vocabulary/relators/autDE-B1597DE-B1597BOOK9910789973803321Global TV3836601UNINA